Requirements of an Emergency Locksmith in Leicester

The modern locksmith is much more than just somebody you call out when you are locked out of your home or office, in fact the modern locksmith covers a whole variety of locksmith and safety associated services that most people are just not aware of.

These extra services range from boarding up windows and doors after a break in damage, to fitting burglar alarms and security lighting to make your home or business premises more secure and give you piece of mind when you are away on business or away on holiday. Other service that some locksmith offer include security advice and assessments for businesses or private homes, CCTV system installation and repair, door entry systems, mobile key cutting and more…

Many years ago prior to the internet revolution when only the biggest and wealthiest companies had web sites; it was hard to get across what services a small to medium sized company or business essentially offered. In those days companies had brochures printed and circulated, advertised in neighbourhood newspapers or took out ads and listings in the now outdated directories such as Yellow Pages, Thomson local and the Phone Book. These days you can reach a lot more people for less money by using the internet and social media, companies advertising budgets have been slashed and its now and even playing field across the board that is if you have a website.

All companies working in the UK, even a small local locksmith, needs a website, not only to show the range of services he or she offers but to prove that they are in fact the real deal, fully trained and vetted and competitively priced.

It’s a little known fact that the locksmith industry here in the UK is completely unregulated, meaning that any person can set themselves up as a locksmith and start trading, no permit or official recognition is necessary.

You would think that every locksmith would have taken some form of training but believe it or not there are some locksmiths marketing their services online that have undertaken no training at all and have simply watched YouTube “How To” videos. So how do you keep away from these cowboys?

The company website is a good starting point, the most awful of these cowboys wont even have a website and will work via Facebook page, avoid these at all costs.. Then there are the DIY website locksmiths, remember these cowboys won’t pay for a training course so aren’t likely to pay for a professionally design website… A DIY website should be easy enough to spot they’ll be badly designed and have inadequate functionality..

If you find a decent locksmith who has a professionally designed website you’re almost there, now you need to look for accreditation and training logos, look at there services, see if they offer a full range as cowboys usually just offer general locksmith services such as gaining entry ( anyone can break a lock, a professional locksmith will pick it). Hopefully by now you will have filtered out all the cowboys and found yourself a qualified locksmith

247 Safeguard Locksmiths Leicester are a local, reliable and friendly 24 hour locksmith company offering professional and competitively priced 24 hour Emergency Locksmith Leicester and security services throughout Lincolnshire and Nottinghamshire. We are on call 24/7 giving our customers complete piece of mind

http://247safeguard.co.uk/emergency-locksmith-leicester

What Is Mould and How Can uPVC Windows Help?

Moulds are a type of fungus that play an important role in helping with the bio-degradation of natural materials like food, plants and trees. Although usually fuzzy in appearance, mould can be a number of different colours, including green, blue and black. We are exposed to mould spores every day and in small amounts, they are harmless.

However, while mould organisms have a useful role in the outdoor world, they are an eyesore in the home and can contribute towards a number of health problems, especially if you have allergies or asthma. In fact, even among people without such problems, mould can cause irritation of the eyes, nose, lungs and skin.

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Household mould is a common problem in New Zealand and many other countries around the world, because it thrives on moisture. Fortunately, there are steps you can take to minimise the risks of mould developing in your home and the installation of uPVC windows is one of the most effective methods.

Where Does Mould Grow?

Because moulds depend on the presence of moisture, the most problematic places within the average household are commonly damp rooms, such as bathrooms, kitchens, basements and laundry rooms. Yet, mould can appear in other places as well, including bedrooms and living rooms, so it is important to keep an eye out.

Examples of the places mould is most likely to develop are walls, floors, skirting boards, windows and shower curtains. Furthermore, it may start to develop on your carpet, sofa, or on tables and chairs.

The Advantages of uPVC Windows

As a general rule, older houses in New Zealand are more likely to develop mould than newer houses and this is because many of them still have old, single-glazed windows, where the frames are made from either wood or aluminium. These old-style windows are likely to lead to both cold and humidity within the house, creating the perfect conditions for mould to appear and grow all year long.

Moulds that are caused by cold and humidity are some of the most dangerous for people, often leading to coughing, sneezing, irritation, breathing difficulties and even asthma attacks.

By contrast, installing double-glazed uPVC windows can help to create a warm and healthy environment within the home, even when there are very high or very low temperatures outside. These windows allow light in, but keep extreme temperatures and weather at bay, while also offering natural resistance to moisture.

Double-gazed uPVC windows are easy to care for and keep clean, and are completely airtight. As a consequence, the conditions are not right for unsightly and potentially harmful mould to form in the first place. This means uPVC windows can lead to greater peace of mind and improved health for you and your family.

It is worth noting that, in addition to offering protection from mould, uPVC windows nz are low maintenance, will not start to rot, are resistant to fire and provide great security benefits. They will also help you to make energy savings and, in some instances, can even increase the value of your home.

Kiwi Windows can help to make your home a comfortable, mould-free and healthy environment today.

Aerial Cinema Productions Launched By McCort, Andrews

Have Helicopter, Camera Mounts, Will Travel.

By Michael Clark

NEW YORK – A pilot and a producer have teamed up to form Aerial Cinema Productions here, offering ground-dwelling production companies and agency producers a range of aerial cinematography services.

Pilot Ray McCort, who trained under renowned West Coast film pilots Alan Purwin and Bobby Zajonc, and producer Jennifer Andrews, formerly with Elson Productions here, were underway with the company’s first large project last week- a spot for a watch manufacturer of Fallon McElligott, Minneapolis, directed by John Bruno of Venice, Calif.-based effects house Digital Domain. The company has working agreements with several aerial camera mount companies in Calif. and a local helicopter firm.  McCort said they have also enlisted two DP’s – Josh Narins of It’s Not Easy Productions and John Inwood of Green Leaf Films, both here- who are available for Aerial jobs.  The company is also training a full-time technician and is compiling a stock footage library, McCort added.

Andrews said the new venture will simplify the process for producers wanting to arrange aerial shoots in and around New York City, including the shipment of gyro-stabilized helicopter camera mounts from camera mount companies such as Continental Magnum Mount and Spacecam Mount, both in Van Nuys, Calif.   “We will get to the point where (producers) are not going to have to fly people out here from L.A. and pay $5,000 for it,” Andrews said.  The company joins Al Cerrulo’s National Helicopter firm in Farmingdale, N.Y., in the somewhat limited New York aerial cinematography market. McCort, who has been flying planes and helicopters for 10 years, and flying camera-mounted aircraft for the past three, said most regular pilots do not harbor the patience or the artistic eye to understand what filmmakers want once the production is in the air.  “If something is aeronautically not safe or practical, you have to think of alternatives that will make them happy and get the same shot,” McCort told SHOOT.

For the Timex-Indiglo spot, McCort used a gyro-stabilized Wescam camera mount to take Bruno above the city at the first light of dawn.  The rear, side and belly mounted cameras – which can weigh up to 400 pounds and are balanced with counterweights on the opposite side of the aircraft – are operated by joysticks from within the cockpit, where DPs and directors can monitor the shots on a video assist monitor.

Buying The Brooklyn Bridge

McCort, who is among less than a dozen aerial film pilots in the country, said the East River bridges are very popular for aerial shots from the company’s leased Bell Jet Ranger 206B which is stored in nearby Caldwell, NJ. The bridges are common settings for car commercials, and at press time Aerial was waiting to hear about an assignment for BMW, McCort said.  He commented that most of the aerial film pilots work on the West Coast because there are fewer space limitations and a vast array of locations.

“Here in New York almost all the shots people want are condensed to a 10 mile radius – from the Brooklyn Bridge up to Yankee Stadium, the Hudson River and the Statue of Liberty,” McCort said.  Pilots also traverse through airspace this is controlled by three major metropolitan airports.   “It can get a little hairy and confusing up there sometimes.  you got a director, a DP, a chopper with a 400-pound rig and you’re hearing from Kennedy (JFK Airport), LaGuardia and Newark,” McCort said.

For more details checkout here : http://raymccort.com/ShootRM.htm

Making New York Skies Filmmaker-Friendly

Cinematographer Joshua Narins and pilot Ray McCort had very specific ideas about operating a full service aerial production company.  The two men, who run the year-old New York-based out fit Aerial Cinema Productions, did not think it was sufficient to offer producers a piloted aircraft and nothing more.  “We coordinate the whole job,” Narins says.  That includes safety coordination, equipment rental, FAA clearances, permits, providing aerial unit producers and personnel, and, of course, aerial camera systems and a Bell Jet Ranger helicopter.

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“There are very few people dedicated to the specialties,” says Narins, referring to ACP’s market positioning.  “A lot of people say they can do a lot of things,” he says, but good aerial cinematography requires more than sitting in a helicopter seat and pointing the camera lens.  “I’m trying to fly the frame and not just the helicopter,” says McCort.   “Keeping steady is important, but (I am) an extension of the camera.  A helicopter pilot is basically a dolly grip in the air with a million-dollar piece of equipment.”  Narins, an IATSE Local 644 member, commends his partner’s “sense of timing and smoothness”:  “We usually have a monitor for him so he can see (the shot) via video tap,” he explains.  “It helps to have a collaborator as opposed to an just a camera operator.”

While producers and directors are increasingly safety conscious, “that’s more my job,” says McCort.  The National Transportation Safety Board voted the Bell Jet Ranger 206B helicopter used by ACP the safest single-engine aircraft in the world. And McCort knows how to use the aircraft to the production’s greatest advantage.  The uninitiated may not really be aware of what might pose a threat to safety.   “It is my job to say we can do the same shot another way,” McCort says.

In the last year, ACP has worked on some 20 projects, ranging from feature films to commercials and documentaries.  Among the credits:  films such as Now and Then (a.k.a.Gaslight Addition) and Beyond Belief, as well as commercial director Tony Kaye’s Microsoft campaign for agency Wieden & Kennedy.   McCort’s aerial work also appeared in the action feature Blown Away.   McCort, a onetime helicopter pilot for ABC/New York’s Channel 7 Eyewitness News and a SAG member who sometimes flies picture ship, is a Juilliard-trained musician who learned his film piloting from the top talent on the West Coast:  Bobby Zajonc and Alan Purwin.

ACP’s mission is to rival the West Coast’s top aerial services.  A full-blown aerial production company is something the New York area has simply lacked, Narins says.   “We are very dedicated to keeping the business on the East Coast.  New York filmmakers have a unique creative voice,” he says.  To show how serious it is, ACP gives independent filmmakers a discount on day rates, and does not charge minimum day rates.  Narins explains:  “The people who are here (in New York) and who care for (New York production) have an obligation to do their best to foster it.”

For more information checkout here:- http://raymccort.com/MillmeterRM.htm

Film Video – The View From Above

Ray McCort

Aerial Cinema Productions

New York-based Aerial Cinema Productions (ACP) shoots film and video for features and commercials, and boasts such movie credits as Blown Away, Now and then, the upcoming releases Kingpin and Eraser, and commercials for Coca-Cola, Timex and Microsoft.  Co-founded by partners McCort and Narins, ACP is, according to aerial cinematographer Narins, “the first full-service aerial company on the East Coast providing both aviation and production services.”

“We use everything from SpaceCam to Continental and Tyler mechanical mounts,” reports aerial coordinator and pilot McCort, “and we fly one of the only two Long Rangers certified for SpaceCam nose and tail mounts in North America.  They’re also a very safe helicopter, which is a major issue when you’re flying around Manhattan.”

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McCort was the visual effects aerial coordinator for the new Schwarzenegger actioner  Eraser, and used the SpaceCam system and nose mount to shoot CGI plates for a scene where the star is shot out of a 727.   “There was a very complex skydiving sequence that involved a team of four aerial jumpers led by Jeff Jones with cameras attached to their helmets,” McCort explains.  “We shot the area around the jump scene for the matching plates over a six-day period.” McCort reports only one problem:  “The SpaceCam footage was so steady that they actually talked about having to add some bounce in post.

“Aerial cinematography is a big growth industry,” he adds, estimation that “80 to 90 percent of movies and commercials feature some kind of aerial shot today.  Just 15 years ago, it was more of a high-risk, stunt-driven area.  Now, it’s a whole specialized industry.”

American Cinematographer – Birds Eye View

By David Weiner

Aerial production services

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In addition to companies manufacturing products for airborne filming, there are those that focus primarily on providing services, such as Aerial Cinema Productions, which began operating about 10 years ago. “We offer full-service aerial production and coordination, providing the helicopter, the pilot and mounts,” says Ray McCort, pilot and aerial coordinator for the company. “Most of the time, we provide the whole package with the helicopter as a camera ship. Occasionally, we fly the helicopter without a camera if it is going to appear on screen as a picture ship or flying on a specific stunt sequence.

“We offer several types of helicopters; the most common are the Jet Ranger and Long Ranger [made by Bell Helicopters] and the Twin Star or A Star [made by American Eurocopter]. Our fleet is equipped with pop-out safety floats so we can operate over the water, too,” says McCort, adding that the company has branches in Chicago, Atlanta, and Washington, DC.

Most of the company’s business is a blend of features and commercials, with occasional calls for TV shows and music videos. “The first feature we did was probably Now And Then,” he says. “We used the Wescam system and worked on the closing credit sequence. Demi Moore, Melanie Griffith and Rosie O’Donnell were all playing in the yard. The sequence began as a tight shot and pulled way up over the streets and houses. We started by coming in and hovering over the house, then zooming in on the actresses. As the helicopter flew away, we slowly zoomed out and tilted up to reveal the entire neighborhood.

“We did a similar shot for Save the Last Dance in Chicago, [which required] filming a moving train from a helicopter. We had to show one of the stars, Julia Stiles, inside the train. We zoomed in on her to a tight shot and then pulled away as the train went into downtown Chicago,” he recalls. ‘That wasn’t a special-effects shot; she was there in the passenger seats.”

McCort says the company’s most recent high-profile sequence appeared in Chill Factor. Shot by aerial coordinator and pilot Geoff Palmer, “it involved several military Huey helicopters chasing down bad guys on location in Utah and South Carolina. The most difficult part was coordinating with the talent, because we were flying with actors in the helicopter and on the ground. The direction of flight and especially the altitude had to be planned out very carefully.”

Some of the biggest problems McCort confronts arise when directors want to film a specific shot that might be unwise from a safety standpoint. He says that many directors are not aware of all of the hazards involved in aerial filming. “They might have a particular shot in mind, but it’s the aerial coordinator’s job to keep things safe and sane,” McCort points out. “We want the director to get his shot, but there may be several ways of achieving it. We always work closely with the director to find the safest way to do things while keeping him happy at the same time.

For more details checkout also here :- http://raymccort.com/AC%20article2000RM.htm

Aerial Production Company

Aerial Cinema Productions, a full-service aerial production company based in New York, combines the talents of aerial coordinator/film pilot Ray McCort and aerial cinematographer Joshua Narins and offers a full range of aircraft and aerial camera systems, as well as safety coordinators, aerial unit producers, and FAA mechanics.

The company makes all the necessary arrangements for an aerial shoot:  personnel, equipment rental, FAA clearances, permits, etc.  The company is a member of the IFP, and while they are dedicated to promoting and fostering the New York production community through their network of aircraft and equipment suppliers, ACP can provide their service anywhere throughout the United States, Canada and the Caribbean.

McCort and Narins are both veterans of projects ranging from studio features to commercial campaigns, music video clips, documentaries and independent films.  The company’s credits range from CGI plates for the Timex-Indiglo watch spot to National Geographic’s Explorer project,  The S.E.T.I.

The duo also worked on the recent Microsoft campaign, which found them making heart-stopping passes through the steel canyons of New York City.  For the campaign’s “Anthem” spot, Narins employed a Tyler Nose Mount to make low level runs at Wall Street, terminating in pulse-quickening 60-degree bank rolloffs.  The “Gather Up” spot necessitated using not only the Nose mount for radical overhead strafing runs of the Brooklyn Bridge, but also the continental Magnum Mount, a mechanical side mount, to gather magic-hour skylines and elegant night footage incorporating the Empire State Building.

For more details checkout also here :-

http://raymccort.com/American%20CinematographerRM.htm

For more information:

Aerial Cinema Productions

778 Park Ave, Suite 101,

New York, NY 10021

Ph. (212)714-6037

Fax. (212)754-0299